Hanging Around at the Philadelphia Museum of Art

This article, part of New York Magazine’s 'Best of New York' series, identifies and details the top art hanging services available in New York City. The recommendations are based on insights from over 50 art world professionals, including artists, art advisers, interior designers, and gallerists, who shared their experiences with local businesses known for their creativity, vigilance, precision, and fair pricing. The goal is to provide a comprehensive guide to installers who excel in diverse art installation scenarios, catering to both major galleries and private collectors, and who can handle challenging conditions such as extremely high ceilings or narrow doorways. Six distinct art hanging services are highlighted for their specialized expertise. ILevel, founded by David Kassel, is recognized for immaculate gallery walls. With over 30 years of experience, Kassel, an art school graduate and former Guggenheim installer, now leads a team that focuses exclusively on art arrangement and installation, handling approximately 56,000 items annually. High-end interior designers like Alexandra Pappas and Alan Tanksley praise ILevel for their precise work and ability to create balanced layouts for diverse collections, emphasizing their efficiency and personable approach. They are noted for their ability to execute complex salon-style hangs quickly, even under tight deadlines. For smaller projects and those on a budget, Handy Andy, run by Andrew Bias-Drakeford, comes highly recommended. Bias-Drakeford, a self-taught handyman, has gained a following on Instagram for his time-lapse Reels showcasing his methodical installation skills. Interior designer Tobi Wright and photographer Katherine Slingluff commend his patience, efficiency, and ability to navigate challenging installations, such as hanging unevenly sized prints alongside a steep stairwell. His mindful approach to the client's space is also a key differentiator. Fisk Fine Art Services, led by a husband-and-wife team, specializes in transporting, shipping, and installing art, particularly for oversize wall hangings. Serving prominent galleries like Pace and Matthew Marks, as well as private collectors, the company is known for handling logistical challenges. Curator and art adviser Lolita Cros recounts their impressive handling of a large Alex Prager photograph that required navigating five flights of stairs, while Nina Blumberg of Artstagram praises their professional and enjoyable management of an artwork installed via crane through a high-rise window. SAT: Safe Art Storage and Transport, established in 1993 by Werner Lederer, is presented as a full-service art installation company adept at complicated and tedious tasks. Offering shipping, crating, and storage, SAT has worked with renowned artists like Roy Lichtenstein and Julian Schnabel. Art adviser Yvonne Force Villareal highlights Lederer’s meticulous approach to challenging domestic installations, such as precisely hanging a Matisse Jazz cutout series with mismatched wire lengths and expertly arranging a 20-piece Samson Kambalu flag series in a grid on a very tall wall. The longevity of their employees fosters strong client relationships. David Kennedy Cutler, whose team comprises exhibiting artists, is celebrated for handling tight spaces and highly complex installations with a relaxed demeanor. Art adviser Ivy Shapiro recalls an instance where Kennedy Cutler’s team partially removed a large painting from its stretcher to navigate narrow corridors in a prewar home, even with undried oil paint, then skillfully reassembled it. Their practice of pre-measuring and creating mock-ups for large projects minimizes errors. Finally, Dietl International is recommended for long-distance installations, offering comprehensive fine-art import, export, handling, and installation services with offices in multiple cities. Founded by Fritz Dietl, the company is praised by art adviser Emily McElwreath for its commitment to sustainable practices and the talent of its employees, specifically mentioning freelancer Kevin Kennedy for his conservation work and artistic eye. McElwreath highlights their expertise in installing massive artworks under high-pressure circumstances, such as during Art Basel in Miami. #ArtHangers #NewYorkCity #ArtInstallation #InteriorDesign #GalleryWalls #FineArtServices #HomeDecoration #NewYorkMagazine

The article discusses the intricacies and tensions surrounding stand placements at major art fairs like Art Basel and Frieze. The issue gained public attention when Air de Paris, a long-standing exhibitor at Art Basel since 1999, publicly withdrew from the fair due to dissatisfaction with their assigned stand. The gallery's co-founders described the process as "brutal and unfair" after declining a new location that was then "imposed" upon them. Vincenzo de Bellis, Art Basel’s chief artistic officer and global director of fairs, offered a different perspective, stating that stand placement is outlined in the fair's rules and regulations, and galleries are frequently moved. He noted that 58 galleries at the upcoming Art Basel fair had their stands relocated, partly due to the introduction of a new section called Premiere, which focuses on works created in the past five years. The incorporation of new sections or larger initiatives often necessitates a revamp of the fair's layout, which is a regular occurrence. Aesthetics is another significant factor in determining gallery placement, with Art Basel continuously assessing how galleries can best interact with their neighbors as their programs evolve. Contrary to a common misconception, Art Basel's floor plans are not static. The layout design process, involving De Bellis and individual fair directors, typically spans about four months, followed by three months for exhibitors to customize their assigned spaces. While Art Basel strives for open communication regarding these changes, De Bellis acknowledges that complete satisfaction among all exhibitors is unattainable. Different gallerists have varied preferences for their stand locations. Some prioritize specific configurations, such as corner units or stands allowing visitor pass-through, while others prefer to be positioned near galleries with complementary artistic programs. The overarching concern for many is visitor flow; galleries benefit significantly when the fair layout directs crowds towards their stands and can suffer when it does not. Katey Acquaro of Silverlens Galleries emphasized the importance of being in prominent locations, stating, "Off the beaten path is not a great place to be at the art fair." Both Art Basel and Frieze have implemented changes to their floor plans to optimize visitor experience and traffic. In 2023, Art Basel Miami Beach redesigned its layout around five interior plazas to redirect foot traffic. Frieze London, in 2024, transformed its compartmentalized layout into a continuous loop, placing younger galleries near the entrance and established ones at the opposite end to ensure consistent flow. Despite positive feedback on Frieze's new layout, artistic director Eva Langret noted that grievances over stand assignments persist, handled through dialogue rather than a formal dispute resolution process. #ArtBasel #ArtFairs #GalleryManagement #ExhibitionPlanning #VisitorExperience #ArtMarket

Creating a stunning gallery wall is an effective way to personalize and enhance a living space, though the process can seem daunting due to various decisions regarding artwork selection, arrangement, and placement. Susan Tynan, founder and CEO of Framebridge, offers expert advice to simplify this home decor venture. She emphasizes that gallery walls should be seen as evolving collections rather than static displays, encouraging individuals to build them gradually and incorporate a variety of pieces, including sentimental items like framed scarves or antique plates, to tell a unique story. The founder suggests thinking of the gallery wall as a narrative of personal experiences and memories, referencing an example where a two-story gallery wall was created for Cary Sherman, CEO of the Recording Industry Association, filled with framed photos, records, and magazine features chronicling his career. A common mistake Tynan highlights is hanging art too high. She advises treating the gallery as a single large piece of art. If placed above furniture, the bottom of the lowest piece should be eight to ten inches above the furniture's top. For empty walls, the center of the arrangement should ideally be about 57 inches from the floor. Establishing a color palette is crucial for a cohesive look. If starting from scratch, a unifying element such as a specific color scheme or art medium can be chosen. For existing collections, consistency can be achieved through framing choices, opting for similar colors and tones in frames, such as a mix of white and silver or natural wood, even if textures and widths vary. Tynan notes that silver and gold, or silver and rose gold, can be mixed effectively, but gold and rose gold should be avoided together. To simplify the layout process, Tynan suggests using Framebridge’s gallery wall kits, which include life-sized hanging guides. Alternatively, a DIY method involves cutting newspaper shapes matching frame sizes and arranging them on the wall to visualize the final display. For an organic look, which allows for easier expansion, laying out pieces on the floor beforehand is recommended. It's important to maintain a consistent spacing of two inches between each piece to ensure the arrangement appears intentional and cohesive, regardless of its size or future additions. This approach helps demystify the creation of gallery walls, making it an enjoyable and less stressful home decoration project. #GalleryWall #HomeDecor #InteriorDesign #ArtArrangement #FramingTips #PersonalizedSpace #SusanTynan #Framebridge

This article provides expert advice on how to properly hang art, drawing on the experience of Zach Gilliland, founder of Artwork Installation, LLC. Gilliland, a stainless steel sculptor, and his team specialize in art installation, ranging from delicate Monets to large-scale sculptures and extensive family photo walls. His company, Artwork Installation, LLC, was established approximately 12 years ago after he gained experience volunteering at Art Center Sarasota, where he installed various art shows and transported pieces for different galleries. The article outlines several key tips for homeowners looking to display their art effectively. First, it emphasizes the importance of a two-person approach when hanging art. One individual should hold the artwork in place, while the other stands back to assess the height and overall placement. Gilliland suggests using colored tape to mark the precise spot once the ideal position is determined, cautioning against attempting to hang art alone due to the increased margin for error. Another practical tip involves considering the artwork's real-life context within the home. If a piece is to be hung above furniture such as a couch or a bed's headboard, it's crucial to test its placement to ensure it doesn't interfere with daily use, for instance, by hitting someone's head when they sit or recline. The article recommends having the second person hold the art in potential spots while the homeowner simulates sitting or lying down to confirm suitability before making any permanent holes in the wall. Regarding hardware, Gilliland advises against using traditional art wire. He explains that art wire often leads to frames hanging crookedly, which can be easily dislodged by minor vibrations within the home. Instead, he recommends utilizing D-rings, placed on either side of the frame. While D-rings might require slightly more effort during the initial installation, they offer greater stability and help keep the artwork consistently straight. The article also touches upon the philosophy behind choosing where to hang specific pieces. Rather than prioritizing color-matching artwork to existing furniture or rugs, Gilliland suggests honoring personal favorites. Homeowners should select the art they value most and make it a focal point of a room by centering it, allowing other pieces to be arranged around it naturally. Lighting is highlighted as a critical factor in art display. The article explains that natural light varies significantly depending on the cardinal direction—northern light differs from southern light. Homeowners should consider how sunlight will interact with the artwork throughout the day, noting whether the area is typically shady or brightly lit. Additionally, artificial lighting plays a role; the article discusses positioning art next to lamps or under fixtures. Gilliland, who also offers lighting consultation, favors LED lights equipped with acrylic filters to control the beam. These filters allow for adjustable lighting, creating either a broad floodlight or a narrow beam, which is particularly useful for illuminating wide or tall vertical pieces evenly. This approach helps avoid 'hot spots' from multiple bulbs or unwanted shadows. Finally, the article mentions an emerging trend in home decor: the use of accent walls with saturated colors. Gilliland notes a growing preference for deep teal and blue hues on back walls, moving away from exclusively light-colored backgrounds, which can enhance the display of artwork. #ArtInstallation #HomeDecor #InteriorDesignTips #ArtHanging #LightingDesign #ArtworkPlacement #Drings #AccentWalls

The International Museum of Dinnerware Design (IMoDD), founded in 2012 by ceramic historian and curator Margaret Carney, has opened its first permanent brick-and-mortar location in Kingston, New York. Previously operating as a roving attraction with digital and pop-up exhibitions, the museum now showcases its extensive collection of over 9,000 "masterpieces of the tabletop genre" in a dedicated physical space. The inspiration for the museum stemmed from Julie Gaines, co-founder of Fishs Eddy, who sought a dedicated home for her lifelong collection of dishware. Gaines found that larger institutions were only interested in a few specific pieces, unwilling to preserve her collection as a cohesive whole. Carney shared this sentiment, believing that dinnerware, despite its prevalence in other museum collections, was often marginalized and not properly celebrated for its design contributions. The inaugural exhibitions at the Kingston museum, "Dining Grails" and "Dining Memories," feature approximately 500 pieces of dinnerware and related dining objects. "Dining Grails" presents a historical continuum of dining aesthetics, ranging from a Song Dynasty jug excavated from the Yellow River to contemporary 21st-century innovations like Shinichiro Ogata’s compostable dining set from 2013. Notable items include Eddie Dominguez’s "Rose Garden," a 12-person dinnerware set that forms a sculptural flower bed when not in use, and a rare spotted and shadowy breakfast set designed by Roy Lichtenstein for Jackson China Company in 1966. The exhibition also includes a 1960s lunchbox designed to resemble a loaf of sliced bread and Peter Saenger’s futuristic nesting tea set from 1990, famously featured on "Star Trek: The Next Generation." "Dining Memories" focuses on site- and era-specific dining vignettes, meticulously recreated with historically accurate furniture and décor. Visitors can explore a 1930s Queen Mary teatime deck scene or observe the impact of early refrigerator design on covered food-storage containers. This section also features a pink 1950s high chair that converts into a wheeled walker and a Donald Duck baby-food warmer, a pre-microwave invention. Margaret Carney's personal favorites from the collection include a fiery orange, angular coffee and tea set designed by Don Schreckengost in the 1930s, which is also the inspiration for the museum’s logo, and Eva Zeisel’s "Museum" set. Eva Zeisel, known for her organic forms, was the first female designer to have a solo exhibition at the Museum of Modern Art in 1946, and her "Museum" set was commissioned for this seminal show. Jean Richards, Zeisel’s daughter and an advisory council member for IMoDD, highlights the personal connection people have with dinnerware, suggesting it’s more intimate than traditional art. Richards notes that while Zeisel’s work is present in other prestigious museums, it can get overlooked within their larger collections. The IMoDD, however, provides a dedicated platform to emphasize her significant contributions. Zeisel herself expressed a preference for designing cohesive sets rather than individual objects, viewing her pieces as having familial relationships. Among the rarest pieces in the "Museum" set is a porcelain salt spoon, of which only about four are estimated to survive globally. The museum’s Kingston location holds historical significance, being an hour's drive from where Zeisel lived and worked until her death at 105 in 2011. It is also near Russel Wright’s Manitoga, a design mecca where Wright designed dinnerware until the 1970s. This proximity allows for a comprehensive exploration of mid-century dinnerware design, with visitors able to see Wright’s "American Modern" collection at Manitoga and then his miniaturized plastic playset version at IMoDD. Carney envisions future exhibits dedicated to diverse topics like ashtrays and nesting dishes, and hopes to expand the museum into a larger space that can accommodate a kitchen and a growing collection. The museum aims to convey the rich story of dining, extending beyond mere novelty to celebrate the evolution of design, innovation, and artistic influences across various cultures and centuries. #DinnerwareDesign #MuseumOpening #Tableware #EvaZeisel #DesignHistory #KingstonNY #CeramicArt #HomeDecor #Exhibition